This chapter serves to inform you about a few of the facts about IT.
These facts include information that made its way into the volume—either stated verbatim, implied through constant emphasis, or even directly shown through actions.
Some of these facts may have ended up not making it in the volume due to unfortunate circumstances—such as the volume being cut short, and such. In that case, most of that information will appear here, if not on later volumes.
1. Names:
• The Absolute Being: This is a name given to IT by Lime—an Entity.
• T.A.B: This is a short version of the previous name. I was too lazy to write The Absolute Being every time IT's name would come up, so I decided to just abbreviate it.
• Milady: This is a name given to IT by Cubix, who was not only an Entity, but IT's personal assistant as well.
• True Entity: This is a name used as a general description by a majority of the Entities. It was mostly used before IT was given a name of IT's own—T.A.B, and some still referred to IT by that name.
• Majesty: This is a name used by the Entities that worked in the Cosmic Celestial Castle.
• Heuk-Myeol(흑멸): This is a name given to IT by Rin-Hwa(린화), who was once the Heavenly Demon.
• Renjin(恋神): It is a name given to IT by Nozomi Ren(望恋), who is just a normal high school girl.
• God of Magic: This is a title given to IT by the denizens of Elementara.
• Mufunwa: A name used by Noel when referring to IT.
• IT, Pain in the ass, Mind numbing, Nerve racking, Annoying, Funny, Insane, Pervert, Lazy, Cliché, Unoriginal, Simple, etc: Used by the author—me, to refer to IT.
I couldn't think of a proper name to give IT, so I decided to use 'IT', and left it at that. The rest are just titles I use to describe IT—how I feel about IT as a character in a novel, especially when writing about IT in said novel.
Some of the names listed above appear later on—through referencing or something similar, while others couldn't make it in the final cut.
2. Powers/ Abilities/ Skills
• Infinite Knowledge: IT has the ability to know anything, anywhere, all at once. IT knows events occurring in all three states of time, as well as those beyond time, and IT can process all of that information simultaneously.
• Reality Manipulation: IT has the ability to alter, create, erase, and even redefine reality in any form, whether physical, conceptual, as well as abstract. Reality is not something IT interacts with; it is something IT casually rewrites, like creating, editing, or deleting a sentence.
• Causality Manipulation: IT has total control over cause and effect. IT can make outcomes occur without causes, prevent causes from producing effects, and IT can even reverse the logical flow entirely—where consequences create their own origins.
• Fourth Wall Manipulation: IT has direct control over the boundary between fiction and audience. IT can break, erase, reinforce, or weaponize the fourth wall—treating viewers, readers, and even the medium itself as part of its environment.
• Plot Manipulation: IT has the power to alter events, pacing, conflicts, and outcomes within the story. No matter what is "supposed" to happen, IT can overwrite it instantly, rendering plot structure meaningless at any given moment.
• Plot Awareness: IT has an intrinsic understanding of the current storyline, future events, hidden arcs, and narrative intent. IT knows what should happen—and chooses whether it happens or not.
• Author Awareness: Awareness of the entity responsible for creating the story. IT recognizes the author as a real, external intelligence as well as understands their intentions, thoughts, as well as limitations.
• Meta Awareness: IT has complete understanding of the fact that its existence is fictional, including knowledge of tropes, genres, audience expectations, and narrative devices.
• Meta Manipulation: IT has the ability to manipulate not just the story, but the idea of the story—changing genres, themes, tone, or even the rules of storytelling itself.
• Author Perception: IT has the capacity to perceive the author directly, as one would perceive a character—observing their actions, environment, and decisions from within fiction.
• Author Interaction: IT has the ability to communicate with, influence, or confront the author. This can range from subtle persuasion, to outright defiance or control over the author's decisions.
• Story Manipulation: IT has control over the entire story as a construct—characters, settings, timelines, and continuity. IT can rewrite the story from any point or perspective.
• Narrative Manipulation: IT has authority over the narrative framework itself—point of view, narration style, reliability of the narrator, and the very structure through which the story is told.
• Absolute Omnipotence: IT can do anything, including redefining what "anything" means. Limitations cannot exist unless if it chooses to impose them in the first place.
• Conceptual Manipulation: IT has control over abstract concepts such as time, death, identity, logic, and existence. IT can erase or redefine these concepts entirely.
• Existence Erasure / Creation: IT has the ability to delete or create beings, worlds, or even ideas instantly—without trace, resistance, or consequence.
• Omnilock / Omnifreedom: IT cannot be restricted, sealed, controlled, or affected, unless if it willingly allows it. Conversely, IT can impose absolute restrictions on anything and everything else—including placing restrictions on itself, if it wishes to.
• Continuity Override: IT has the power to ignore or rewrite continuity, canon, as well as consistency. Past events can be changed without affecting the present, unless desired otherwise.
• Genre Shifting: IT can Instantly transforms the story's genre—tragedy to comedy, horror to romance, forcing reality and characters to adapt accordingly to its will.
• Trope Manipulation: IT has control over narrative tropes and clichés—activating, subverting, or even erasing them all or none at will.
• Narrative Immunity: IT has immunity to all story-based consequences, including death, failure, or defeat. Even "losing" can be rewritten as winning, and vice versa.
• Infinite Retcon: IT has the ability to retroactively change any aspect of the story, including its own origin, powers, and even identity as well.
• Multilayered Existence: IT is a simultaneous existence across multiple levels—within the story, outside the story, and within the author's own reality.
• Reader / Audience Manipulation: IT has the power to influence the thoughts, emotions, and perceptions of the audience consuming the story.
• Medium Manipulation: IT has control over the format of the story itself such as text, animation, panels, and dialogue boxes, altering how the story is presented.
• Narrative Collapse / Reconstruction: IT has the ability to destroy the entire narrative structure and rebuild it from nothing in a completely different form.
• Self-Authorship: If it wanted to, IT can write its own existence in real-time, independent of the author's intent.
• Paradox Embodiment: IT can exist as contradictions simultaneously—alive and dead, present and absent, without conflict.
• Omniscient Perspective Control: IT has access to all viewpoints at once—first-person, third-person, omniscient, and the ability to switch or merge them all together.
• Temporal Irrelevance: Time has no authority over IT. Past, present, and future are interchangeable states. IT can exist in all three states simultaneously, or in none of them at all.
• Absolute Adaptation: Automatically transcends any ability, system, or rule IT encounters—even ones designed to surpass it.
• Fiction–Reality Transcendence: IT treats fiction and reality as interchangeable layers, able to move between the two or merge them.
• Pre-Narrative Manipulation: IT has control over everything and anything before a story even begins—premises, ideas, characters, and the conditions required for a narrative to exist. IT can prevent stories from ever forming, or ensure they unfold exactly as it desires.
• Post-Narrative Sovereignty: IT has authority over what happens after a story ends—epilogues, legacies, interpretations, and even whether the story is remembered or forgotten.
• Canon Authority Override: IT defines what is canon and what is not. Official material, alternate timelines, and fan interpretations are all equally subject to its will.
• Interpretation Manipulation: IT has control over how events are understood by characters, readers, and even the author. The same event can mean infinitely different things simultaneously.
• Narrative Priority Control: IT determines which events "matter" and which are irrelevant. Entire arcs can be reduced to irrelevance or elevated to absolute importance.
• Author Replacement: IT can overwrite or replace the author entirely, assuming full control of the creative process without any resistance.
• Infinite Author Layering: IT recognizes that the author may very well be fictional within higher realities—and can ascend through these layers indefinitely.
• Creative Source Manipulation: IT has control over the origin of ideas themselves. IT can also decide whether an idea is ever conceived in the first place.
• Inspiration Control: IT Influences or dictates what the author feels inspired to write, subtly or absolutely guiding the story from "outside".
• Logic Transcendence: IT is not bound by logic, illogic, or even paradox. IT can make contradictions function seamlessly or render logic entirely obsolete.
• Definition Manipulation: IT controls the meaning of words, concepts, and identities. IT can redefine "victory," "existence," or even "power" to suit whatever it wants them to be.
• Boundary Erasure: IT capable of removing all distinctions—between self and other, fiction and reality, beginning and end, as well as everything else.
• Absolute Nonexistence Control: IT doesn't just erase existence, but manipulates nonexistence itself—creating from nothing that was never even "nothing."
• Inevitability Manipulation: IT decides what is unavoidable and what is impossible. Fate bends not because it must—but because IT says it must.
• Format Transcendence: IT is not limited to any medium—text, animation, game, etc, and can move freely between or exist across all of them simultaneously, if IT chooses to do so.
• Panel / Frame Control: IT can manipulate individual moments—freezing, skipping, duplicating, or even rearranging panels, frames, or scenes.
• Dialogue Authority: IT controls all spoken or written words. Characters can be forced to say things that they never intended—or silenced entirely.
• Action Authority: IT controls any actions—be it minor or major actions. Characters can be forced to do things that they never intended—or stopped from doing something entirely.
• Interface Manipulation: IT can alter menus, texts, subtitles, narration boxes, or any interface through which the story is experienced.
• Power Creation & Deletion: IT can invent entirely new abilities or erase existing ones, including its own, at any moment.
• Limit Creation: IT has the ability to impose restrictions on itself, or others purely for entertainment. That said, these are limits that can be removed instantly at any moment.
• Absolute Superiority Clause: IT automatically supersedes any opposing force, ability, or concept, regardless of scale or nature.
• Self-Contradiction Mastery: IT can contradict its own actions, words, or states without consequence, maintaining all outcomes simultaneously.
• Perception Layer Manipulation: IT controls not just what is seen, but how it is processed, changing emotional weight, tone, as well as meaning instantly.
• Memory Editing: IT can alter what the audience remembers about the story, effectively rewriting their experience.
• Engagement Control: IT decides whether the audience is interested, bored, confused, or emotionally invested.
• Narrative Existence Toggle: IT can turn its own existence—or the entire story, "on" or "off" at will.
• Omnifictional Presence: IT exists across all stories, universes, and fictional constructs simultaneously.
• Absolute Authorship Paradox: IT is both the creation and the creator, existing in a loop where it writes itself into existence endlessly.
• Beyond-Scale Transcendence: Any attempt to measure or rank IT fails—IT exists beyond all hierarchies, including omnipotence.
• Meaning Manipulation: IT controls whether anything has meaning at all. Events can be significant, meaningless, none, or both simultaneously.
• Purpose Creation / Erasure: IT assigns or removes purpose from beings, objects, or the story itself.
• Totality Dominion: Everything that exists, doesn't exist, could exist, or cannot exist is equally under its control.
• Irrelevant Speed: IT does not "move fast"—IT simply is already there. Speed as a concept doesn't apply because travel never occurs.
• Instantaneous Presence: IT appears at any location without traversing space or time. There is no transition—only a change in state.
• Omnipresent Motion: IT simultaneously exists at every point in space while also being capable of acting from all those points at once.
• Speed Transcendence: IT operates beyond infinite speed, beyond immeasurable speed, where even the concept of "before" and "after" cannot track its actions.
• Reactionless Action: IT acts before anything can happen—not because IT reacts quickly, but because reactions themselves are unnecessary.
• Temporal Speed Override: IT can choose how fast time flows relative to itself, effectively making anything appear frozen, reversed, or nonexistent.
• Movement Negation: IT eliminates the need for movement entirely—objectives are achieved without any form of motion or displacement.
• Distance Nullification: All distances are treated as zero. Whether something is one meter away or across infinite universes is irrelevant to IT.
• Infinite Reach: IT can interact with anything regardless of location, dimension, or level of existence.
• Spatial Collapse: IT can compresses an infinite space into a single point, or expands a single point into an infinite space.
• Location Override: IT redefines where something "is". An object can be everywhere, nowhere, or somewhere else entirely.
• Dimensional Irrelevance: Distance across dimensions, realities, or layers of fiction is treated no differently than in front of IT.
• Proximity Manipulation: IT determines what is considered "near" or "far," regardless of actual spatial relationships.
• Absolute Range: All abilities have infinite, unavoidable range—nothing can exist "out of reach" for IT.
• Time Erasure: IT removes moments, events, or entire timelines from existence as if they never occurred.
• Temporal Omnipresence: IT exists simultaneously in the past, present, future, and outside of time entirely.
• Timeline Authoring: IT writes and rewrites timelines freely—creating branches, merging them, or deleting them entirely.
• Retroactive Existence: IT can make itself, or anything else, have always existed, regardless of prior continuity.
• Future Determinism Override: IT decides what will happen, and that future becomes absolute, unless if it decides otherwise.
• Temporal Paradox Immunity: IT is unaffected by paradoxes; contradictions in time are either ignored or made to function.
• Time Loop Creation / Destruction: IT cantrap events or beings in loops—or breaks loops instantly, regardless of their complexity.
• Absolute Chronokinesis: IT has total control over time's flow, direction, structure, and meaning.
• Zero-Interval Action: IT can act with no time passing and no distance crossed—true instant execution beyond "instant".
• Causality-Skipping Movement: IT can arrive at a destination without ever having started the journey.
• Simultaneity Control: IT determines what events happen at the same time—even if they logically shouldn't.
• Infinite Acceleration: IT can continuously accelerates without limit, though this is largely irrelevant since speed itself is already transcended.
• Event Preemption: IT can complete actions before the conditions for those actions even exist.
• Temporal-Spatial Overwrite: IT rewrites both when and where something exists at the same time.
• "Already Happened" Authority: Anything IT decides is treated as if it has already occurred, removing the need for action entirely.
• "Never Happened" Authority: Events, movements, or timelines can be declared nonexistent retroactively by IT.
• Infinite Interval Collapse: Infinite time and infinite distance can be reduced to nothing, or stretched infinitely from nothing by IT.
• Omnitemporal Velocity: IT can move through all of time simultaneously while also being stationary outside of it.
• Beyond Time-State Existence: IT exists in a state where time cannot be applied—not stopped, not flowing, just irrelevant.
• Speed Concept Erasure: IT removes the idea of speed from reality entirely. Nothing can be fast or slow anymore.
• Distance Concept Erasure: IT eliminates the concept of space between things, and everything becomes inherently connected.
• Time Concept Erasure: IT deletes time as a concept, leaving only a static or undefined existence that IT fully controls.
3. Weakness (Self-Imposed)
• Existential Boredom: The only limitation IT has is a self-imposed desire for entertainment. IT may restrict its own powers, create challenges, or allow conflict purely to avoid boredom. This was done by IT, for plot convenience and plot progression.
And that about sums up "some" of the things regarding me. I tried to format it like a character sheet though—as you clearly saw above, I failed miserably.
The only excuse I can give is that there was just too much information, that not all of it could be listed. There was also too little information, that there wasn't much to list in the first place. My very being is very contradictory like that.
In any case, that's why there's only names, powers, and a weakness listed here.
I did my best to give you brief description regarding my numerous names, and where they come from. As for my powers, I also gave descriptions so that you could easily understand everything I can do.
With all that said, you'd have an easier time coming up with what I can't do—and even then, you'd be lying off your ass.
This chapter—that I wrote myself, serves as an undisputed proof that I'm boundless—at least. I just wanted to make that clear to all the readers.
With all that said, please look forward to volume 2, and I hope to see you then!